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With great respect, as this work is devoted to the art of manually extracting beauty from pianos, using a cookie cutter computer generated piece of fluff as an intro and underscore seems so incongruous! Thanks for hearing my comment.
What I like about my Taubman teacher is that he's got a rational solution for every difficulty. Eventually, I get to the point where I can work out my own solutions based on principles, but of course I have to check with the teacher to make sure I've gotten it right. He makes me aware of not creating a "solution" until I'm sure it's the right one, because breaking a wrong movement is really difficult. It's also clear that he has a plan, with specific repertoire to address the progressive learning process. I'm able to send him emails with specific images of places where I need advice, and he's always willing to address them, either in replies or in a future lesson.
Jin is the most incredible teacher you can imagine. He is so empathetic, so understanding for any kind of problem that could occur and also he understands music so deeply and most important he easily transforms music into words, to explain it to his students and hence back into music. He is a true gem.
I have spent years developing ways of avoiding playing between the black keys - not sure what this was about - dogma that has nothing to do with actually playing the piano?
This is invaluable information for those who step through it very carefully. As much as one tries, it's so easy to overlook the small details without realizing it, and so having an actual Taubman teacher is great help.
...1st. rule: the student's responsibility is to learn to feel how where and when the body makes the finger react involuntarily... learn to feel cannot be taught!!!
Because they're not showoffs? I've seen many folks from the Golandsky Institute easily demonstrate passages like Liszt's Hungarian Rhapsody no. 6 and Beethoven's Pathetique first movement. Edit: And in this video Durso literally demonstrates the Chopin op. 53 octaves! What more do you want?!
I can add that I heard once that an old german pianist Arthur Schabel said: immer spielen Sie zu den Klavierdeckel hinein und leicht aufwaerts. I think actually that was what Robert said about the ondine that its possible with the right adjustment its possible to feel the light weight of the keys even when very close to the lid.
Thank you Robert that was inspiaring with the scale. The technical solution on beginning of the ondine gave a technical idea on how to play Brahms exercise no. 38 from 51 ( not area😢) but the exercises for Clara Schumann. In no 38 one can also go inwards with lateral forearm and natural relaxed hand as one unit without bending the handwrist from side to side. And next the rebound you mentioned so in no 38 only the first chord swings up the unit and the next 3 16 notes comes with the natural relaxed hand to ensure no aftertension so it should be felt like 4 beats each bar but its challenging with the difficult grips close to the lid. I was taught that the lateral movement of the loose unit a letter no 8 laying down letter no 8. But thanks you demonstration gave the last clue tgat obe can go inwards to the lid with an unblocked carpal tunnel so the airflow dont get stock. Best greetings Thomas
Brilliant inspiring I am back at it after 40 years and her ideas are already helping me play with less effort and tension!!!!! I do a lot of yoga and it would also help a lot in terms of releasing tension and stress especially for the upper neck and back areas.
